What is Frantic Assembly's style of physical, devised ensemble theatre, and how do you apply choreographed movement and building-block techniques as concrete choices?
Frantic Assembly and physical ensemble theatre: devised, choreographed movement integrated with text, building-block devising methods such as chair duets and round-by-through, lifts and contact work, and design-led storytelling, applied as concrete choices for fluid physical theatre (AO3, and AO1 and AO2 in the practical work).
Frantic Assembly's physical ensemble theatre for WJEC A-Level Drama and Theatre: devised choreographed movement integrated with text, building-block devising methods, lifts and contact work, and design-led storytelling, applied as concrete choices for fluid physical theatre, for AO3 and the practical work.
Reviewed by: AI editorial process; not yet individually human-reviewed
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What this dot point is asking
Frantic Assembly is a contemporary company that makes devised, physical ensemble theatre in which choreographed movement is integrated with text. Their methods include building-block devising techniques (such as the chair duet and round-by-through), lifts and contact work, and design-led storytelling. WJEC permits recognised theatre companies as well as individual practitioners, so Frantic Assembly is a strong choice for physical devised work, and their approaches inform fluid, movement-rich staging in your written answers. The skill is to make movement express meaning, not to add it as decoration.
The answer
Frantic Assembly grew out of a desire to make accessible, energetic, contemporary theatre that fuses dynamic movement with strong text. Their published methods make them especially useful for students because the devising process is concrete and teachable.
Movement integrated with text
This integration is the heart of the style. The audience reads the relationship in the physical language, which is why random movement fails and meaningful movement succeeds.
Building-block devising
Frantic Assembly generate material through building-block tasks: simple, repeatable starting points that produce raw movement to be shaped. The chair duet builds a sequence around two performers and a chair to explore a relationship; round-by-through is a set pattern of contact movements (going round, by and through a partner) that generates physical material. The company then selects, shapes and refines this raw material into precise choreography, which is how original, repeatable sequences are made.
Lifts, contact work and design
Lifts and contact work express closeness, conflict, power, trust and support physically, so a relationship is made visible through how performers carry, resist or rely on each other. Frantic Assembly also treat design (set, lighting and sound) as a driver of the storytelling: the physical environment and the soundscape shape and propel the action rather than merely framing it.
Examples in context
Devising a moment of fracturing trust. To stage two friends drifting apart, you might begin with a chair duet, generating raw material as the pair negotiate a single chair, then refine it so the sharing becomes competition: one repeatedly offers and withdraws support in a lift that almost drops the other, contact that began as easy becomes hesitant, and the round-by-through pattern that once flowed now stutters and breaks. A driving, fading sound design and a narrowing pool of light push the moment. The choreography expresses the collapse of trust without a word of explanation. A weak version adds movement at random; the strong version refines meaningful, repeatable physical choices integrated with the text, and the approach adapts to whatever stimulus or text your centre uses.
Try this
Q1. What does it mean that movement and text are integrated in Frantic Assembly's work? [2 marks]
- Cue. The choreography expresses character, emotion and relationship rather than decorating the dialogue, so meaning is carried physically as well as verbally.
Q2. Name a building-block devising method and explain what it does. [2 marks]
- Cue. The chair duet (builds a movement sequence around two performers and a chair to explore a relationship) or round-by-through (a set pattern of contact movements that generates raw material to be refined).
Q3. Explain how you would use Frantic Assembly's devising and movement techniques to create a physical moment of theatre. [10 marks]
- What the marker wants. Building-block devising to generate material, refined into precise, repeatable choreography, lifts and contact work expressing relationship, movement integrated with text, and design driving the story, each tied to its effect (AO3, with AO1 and AO2 in the practical work).
A note on application
This guide is AI-written and not individually human-reviewed. Frantic Assembly's methods apply to physical devised and reinterpreted work and to fluid staging of texts. WJEC allows recognised companies as well as practitioners; the approved list is set by WJEC and reviewed periodically, so confirm the current names with your centre, and always tie each movement to the meaning it expresses.
Exam-style practice questions
Practice questions written in the style of WJEC exam questions on this dot point, with worked answer explainers. The year tag is the paper they imitate, not the source.
WJEC company application12 marksExplain how you would use Frantic Assembly's devising and movement techniques to create a physical moment of theatre.Show worked answer →
A company-application task on devised physical theatre (AO3, AO1 and AO2 in the practical components).
Method. Name the techniques and apply them: building-block devising methods (such as a chair duet or round-by-through) to generate choreographed sequences, contact work and lifts to express relationships physically, movement integrated with text rather than decorating it, and design (set, lighting, sound) that drives the storytelling. For each, give the concrete movement or design choice and the effect.
Develop. The top band integrates movement and meaning so the physicality expresses character and relationship, and refines raw material into precise, repeatable choreography. Weak answers add random movement with no meaning, or describe the methods without choices.
WJEC company knowledge8 marksExplain what is meant by a building-block approach to devising movement, with an example.Show worked answer →
An explanation task on Frantic Assembly's devising method (AO3).
Method. Explain that a building-block approach starts from a simple, generative task (for example a chair duet, where a sequence is built around a chair, or round-by-through, a set pattern of contact movements) to produce raw movement material, which is then selected, shaped and refined into choreography. Give an example and state its purpose: generating original, physical material efficiently.
Develop. Strong answers show how the raw material is refined and integrated with text and meaning. Weaker answers name a method without explaining how it generates and shapes movement.
Related dot points
- Konstantin Stanislavski and psychological realism: the system of given circumstances, the magic if, objectives and the super-objective, emotion memory, units and actions, and truthful naturalistic performance, applied as concrete choices when staging a text or building a role (AO3, and AO1 and AO2 in the practical work).
Konstantin Stanislavski's system for WJEC A-Level Drama and Theatre: given circumstances, the magic if, objectives and the super-objective, emotion memory, units and actions, and truthful naturalistic performance, applied as concrete choices when staging a text or building a role, for AO3 in the exam and AO1 and AO2 in the practical work.
- Bertolt Brecht and epic theatre: the alienation effect (Verfremdung), gestus, episodic structure, placards, song, direct address and visible technique, applied to make an audience think critically about society when staging a text or devising (AO3, and AO1 and AO2 in the practical work).
Bertolt Brecht's epic theatre for WJEC A-Level Drama and Theatre: the alienation effect, gestus, episodic structure, placards, song, direct address and visible technique, applied as concrete choices that make an audience think critically about society, for AO3 in the exam and AO1 and AO2 in the practical work.
- Antonin Artaud and the Theatre of Cruelty: total theatre as an assault on the senses, the primacy of sound, light and movement over text, ritual and the plague metaphor, breaking the audience-stage barrier, applied as concrete choices to provoke a visceral response (AO3, and AO1 and AO2 in the practical work).
Antonin Artaud's Theatre of Cruelty for WJEC A-Level Drama and Theatre: total theatre as an assault on the senses, the primacy of sound, light and movement over text, ritual and the plague metaphor, and breaking the audience-stage barrier, applied as concrete choices to provoke a visceral response, for AO3 and the practical work.
- Steven Berkoff and physical total theatre: stylised mime and the creation of objects and settings with the body, exaggerated and grotesque physicality, heightened vocal delivery, ensemble work and direct address, applied as concrete choices for a heightened, non-naturalistic style (AO3, and AO1 and AO2 in the practical work).
Steven Berkoff's physical total theatre for WJEC A-Level Drama and Theatre: stylised mime, the body as scenery, exaggerated and grotesque physicality, heightened vocal delivery, ensemble work and direct address, applied as concrete choices for a heightened, non-naturalistic style, for AO3 and the practical work.
- Choosing and applying a practitioner or company: selecting one practitioner or company whose methods suit Component 1 and a different one for Component 2, matching the practitioner to the material, and applying their techniques as sustained, concrete choices documented in the log and report (AO1, AO2 and AO3).
How to choose a practitioner or company for each WJEC Drama and Theatre component and apply their methods consistently: selecting one for Component 1 and a different one for Component 2, matching the practitioner to the material, and applying their techniques as sustained, concrete choices, for AO1, AO2 and AO3.
Sources & how we know this
- WJEC A level Drama and Theatre specification — WJEC (2016)